639-642 The Qatsi Trilogy

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Re: 639-642 The Qatsi Trilogy

#151 Post by cdnchris » Sat Dec 15, 2012 4:17 am

ptatler wrote:Just finishing watching the films. Moving on the the extras. KOYAANISQATSI and POWAQQATSI are fantastic films, worthy of their reputation and even exceeding my expectations. NAQOYQATSI is utter shit. Thoughts?
I think it was just a bad idea to begin with. It's stock footage digitally altered and put together. According to the booklet only 30% of the film is made up of new footage. Everything about it feels half-assed, from relying on stock footage to the score to the dated computer effects that were dated the day the film was released. I don't think the trilogy's themes are really all that deep but at least I was distracted by some incredible phtography, music, and some amazing editing that made two films that should have been a chore to sit through nothing of the sort. I think they're both amazing and even entertaining. But without that the simplistic theme of technology run amuck and killing the organic becomes more trying at 89-minutes.

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Re: 639-642 The Qatsi Trilogy

#152 Post by Mr Sausage » Sat Dec 15, 2012 9:38 am

I've avoided seeing the first two films because I thought Naqoyquatsi was so dull back when it hit theatres. Good to know that it's not representative of the trilogy as a whole. Might pick this one up, now.

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Re: 639-642 The Qatsi Trilogy

#153 Post by colinr0380 » Mon Dec 17, 2012 8:14 am

I'll try to defend Naqoyqatsi, if only slightly. Though I think Mr Sausage will probably have similar problems with the first two films, as 'dullness' if you are not interested in the imagery on display, is apparent in them too. They are kind of 'eye of the beholder' films or, if we are being uncharitable 'screen saver' cycles of (albeit wondrous) imagery.

The big problem with the third film that the first two did not have was that Koyaanisatsi and Powaqqatsi were capturing some sense of the real world, so whether you buy into the rather simplistic overarching theses of the first two films or not (or even followed what Reggio was intending with the imagery, which sometimes makes quite head scratching leaps of logic) there were always some stunning visions of parts of the world and activities that had never been seen before.

Naqoyqatsi leaps into the realm of imagery of events, buildings and objects that are meant to be deeply familiar to the audience. They are all films about the battle of differing hegemonies but rather than showing the result of this battle written on the faces of 'ordinary people' or the ravaged or utterly transformed landscapes, this is tackling the control of information and the hold that ideas and images (and religions and logos! or religious logos!) have on the mind.

What could be considered a flaw of the previous two films - the rather simplistic, dualistic battle for supremacy between cultures and hegemonies - cannot be overlooked in Naqoyqatsi the way that it can in Koyaanisqatsi and Powaqqatsi, where pretty pictures of the natural and man-made physical world can be enjoyed whatever your point of view.

That kind of makes Naqoyqatsi simultaneously both the most detached film from the physical realm of the series and also the purest view of the way the world is just made up from human projections and manipulations (something true of the first two films as well).

Yet I can also understand the negative reactions above - being so detached from any tangible landscapes or structures (apart from those transferred into the computer realm and manipulated) places an incredibly huge burden onto the filmmaker to create some structure and coherence from a literally limitless amount of material, or material only limited by the abilities of current technology and the imagination of the creators.

That is an incredibly dangerous situation for Reggio to have put himself into, as it kind of runs the risk of exposing a lot of shallow or facile (or even limited) thinking more obviously than the first two films had. And of course, as mentioned above, technology has moved on hugely even in the ten years since it was released. Not to mention that, from my recollection of the extras on the original DVD, part of the long delay between Powaqqatsi and Naqoyatsi was attributed to having to collect, create and manipulate every single image of the film, which means that parts of the film would have been a number of years old even at the time of Naqoyqatsi's release in 2002.

I think for all of that Naqoyqatsi is a beautiful, extremely different stylistically but thematically of a piece, film. It is 'flawed' but in the same way that the other films of the series are 'flawed', and I would suggest it is perhaps one of the most daring films of the 2000s.
Last edited by colinr0380 on Mon Dec 17, 2012 7:03 pm, edited 1 time in total.

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Re: 639-642 The Qatsi Trilogy

#154 Post by Mr Sausage » Mon Dec 17, 2012 9:06 am

colin wrote:Though I think Mr Sausage will probably have similar problems with the first two films, as 'dullness' if you are not interested in the imagery on display, is apparent in them too.
I got tired of looking at processed video game footage for minutes on end. The fact that the first two films feature original footage will probably affect my enjoyment for the better.

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Re: 639-642 The Qatsi Trilogy

#155 Post by swo17 » Mon Dec 17, 2012 11:32 am

The maddening thing for me about Naqoyqatsi is how much of it feels like watching TV at my in-laws. (Which, for the benefit of those who have not yet watched TV there, means a lot of 4:3 material stretched to 16:9.) Life as war indeed.

Random thought: Qatsi means life, yes? In other words, Criterion has just released someone or other's Trilogy of Life two months in a row. Neat.

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Re: 639-642 The Qatsi Trilogy

#156 Post by triodelover » Mon Dec 17, 2012 12:05 pm

Mr Sausage wrote:I've avoided seeing the first two films because I thought Naqoyquatsi was so dull back when it hit theatres. Good to know that it's not representative of the trilogy as a whole. Might pick this one up, now.
Don't forget, you still have to plow through over 4 hours of Philip Glass. :wink: [-X

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Re: 639-642 The Qatsi Trilogy

#157 Post by colinr0380 » Fri Jan 04, 2013 1:13 pm

Glenn Erickson reviews The Qatsi Trilogy, with this interesting footnote:
Powaqqatsi holds a place of pride for DVD Savant. Early in 1987 I was hired to cut promos and trailers at Cannon Films, a place that turned out to be a hotbed of editorial talent. The tricks used at Cannon to hype movies with no commercial selling points later became the industry standard. I was kicked into a higher rank of trailer cutters when Godfrey Reggio saw my promo for North/South: Powaqqatsi and asked that I edit the trailer, an assignment coveted by the department's top cutters. I finally met with Reggio, who talked like a cross between a committed film theorist and a less manic Dennis Hopper from Apocalypse Now. Reggio was incredibly sharp and could articulate complex ideas extremely well... and had my mind racing to remember the semiotic jargon from Howard Suber's critical studies classes film school. I was able to fashion a complex optical for the trailer (included on Criterion's disc, albeit flat) and in a burst of self-promotion contacted the magazine Adweek. Would they be interested in an article on the selling of a non-commercial art film from the maker of Koyannisqatsi? You bet. The color article won me invitations to work at various high-end trailer houses just when Cannon was imploding. My department head was keeping the shop open by having me work very slowly on stuff like American Ninja 3. Before I knew it I was cutting a vastly overpriced exhibitor's promo for The Abyss, to be finished in 70mm. About 14 months earlier I was assistant editing on Mattel and Denny's commercials, and going exactly nowhere...

Cannon chieftain Yoram Globus apparently hadn't a clue as to how to distribute or market Powaqqatsi. As I was the only one there that really knew anything about the movie, I was dragged to his office to give a presentation on my ideas. I talked them into using the image of the boy on the road as the key graphic. When producer Mel Lawrence arrived a few weeks later with final prints of the film, he thanked me for doing a good job and gave me a rare Koyannisqatsi poster. My time cutting trailers was relatively short, yet the experience gave me a sense of accomplishment lacking in earlier "I was there" film assignments.

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Re: 639-642 The Qatsi Trilogy

#158 Post by colinr0380 » Sun Jan 06, 2013 8:02 am

Koyaanisqatsi is definitiely the brassiest film of the trilogy!

Watching this new Blu edition of Koyaanisqatsi some of the visuals are really pumped up by the transfer - the planes appearing out of the shimmering heat haze has always been jaw dropping but this was the first time it looked as if the entire frame was shimmering wobbling and melting like a living watercolour painting (a neat pairing with the shimmering speeding and wobbling lights near the end of the Grid sequence). The fast-motion shot of the clouds passing over a city was always beautiful but this transfer really brings out the shafts of light shining down from the clouds and moving across the ground had seemed less apparent on my previous viewings. And during the sequence flying around the derelict apartment blocks (anticipating the sequence crawling around the derelict building that opens Naqoyqatsi), I could almost feel myself propelled into the image by the images and music in combination, as if I could jump through the screen and onto the top of one of those buildings!

These images increasing in intensity really help to capture the 'Earth, Air, Fire and Water' structure that Philip Glass talks about in his interview, but then as they keep saying during the Essence of Life piece these are all loose structures. Also, while I know this is "Life out of Balance" rather than "Life in Transformation", which is Powaqatsi's definition, in a sense of attempting to create a wholistic worldview the definitions for each of the three films can apply to each other too.

For Koyaanisqatsi I always most responded to the idea of man imposing onto and exploiting the resources of the natural world, taking the beautiful natural world presented at the opening and using it up until humanity attempts (unsuccessfully with the image of the rocket exploding) to travel into space to expand their exploitation out. However on this viewing I responded more strongly to the idea that it was about humanity exploiting itself, pushing itself to the limits of endurance without stopping to think. It is quite a dark film in that sense, with people moving ceaslessly, driven relentlessly, thoughtlessly onwards, but to what?

I espcially found the organ-scored 'Requiem' sequence very moving this time - perhaps I was still thinking of the earlier derelict apartment blocks being demolished to make way for something else. After the fast paced Grid section showing crowds moving in sequence (even pairing the crowds queueing up with sausages being produced, in rather too blatant symbolism! I was also thinking that the crowd queueing sequence scored to the electronic bleeps was very reminiscent of the one from Marker's Sans Soleil), then moving so fast that the lights of the cars almost turn into synaptic impulses flashing from one place to another, flowing back and forth, the film finally slows down again and dwells on individual human faces separated out from the crowd in slow motion detail.

That combined with the music really affected me again. I think it was the thought of audiences viewing Koyaanisqatsi in a hundred years time or more the way that audiences today view 1890s-1900s street scenes today - with a curiosity about seeing a way of life and people long dead being momentarily brought back to life again on the screen, much as those derelict apartment blocks that we see being demolished, in a Naqoyqatsi-anticipating move, exist again only as images on film (and in memory) after all trace of them has been removed from reality itself.

Even thirty years on from Koyaanisqatsi how many people that we see in those street shots have gone? What happened in their lives? Are they still out there beavering away, or long dead? Alive or not, are they remembered or already forgotten?

So I was already shedding a few tears before the film itself literalised that sense of industry contrasted with impermanence and sudden loss with the final sequence of the rocket exploding, the camera following a solitary piece, looking upsettingly like some sort of abstract art object revolving in an art gallery, back to the ground.

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Re: 639-642 The Qatsi Trilogy

#159 Post by nils » Sun Jan 06, 2013 10:55 am

Screenshots comparison: Criterion issue vs. Koch media / Studio Canal

Koyaanisqatsi (different film source)

Powaqqatsi (same film, but another transfer after cleaning source film)

Naqoyqatsi (same transfer, but full 16:9 frame)

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Re: 639-642 The Qatsi Trilogy

#160 Post by tenia » Sun Jan 06, 2013 3:20 pm

Is it me or there is huge compression problem on Criterion's Koyaanisqatsi ?

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Re: 639-642 The Qatsi Trilogy

#161 Post by MichaelB » Sun Jan 06, 2013 4:36 pm

tenia wrote:Is it me or there is huge compression problem on Criterion's Koyaanisqatsi ?
The bitrate is 34.91MB/sec according to DVD Beaver, so it seems unlikely.

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Re: 639-642 The Qatsi Trilogy

#162 Post by tenia » Sun Jan 06, 2013 6:04 pm

MichaelB wrote:
tenia wrote:Is it me or there is huge compression problem on Criterion's Koyaanisqatsi ?
The bitrate is 34.91MB/sec according to DVD Beaver, so it seems unlikely.
I've seen this but still, both the caps comparison from nils and the one available on caps-a-holic seems to point this issue, despite the indeed maximised bitrate.

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Re: 639-642 The Qatsi Trilogy

#163 Post by warren oates » Fri Jan 11, 2013 5:01 pm

Koyaanisqatsi really is a revelation on Blu-ray. I doubt it's ever looked this good before. The film struck me as being much better and more influential than ever this time around, including not just the obvious influence on dozens if not hundreds of other subsequent documentaries but on serious fiction films too by the likes of people like Terrence Malick. I have even more respect for the end result after the tortured multi-year production process and the tenuous yet magical collaboration that saw it to fruition. I'm one of the few around here who doesn't look down on Ron Fricke as the lesser partner or see his subsequent work as lacking. Though he's listed as the DP, the supplements imply that he was for all intents and purposes a co-director, not just capturing but actively shaping the imagery from pre-production to post. The most interesting feature may be the one on the original visual concept: The aborted studio-set footage is so awful that it ought to give anybody starting out confidence to make something bad on the way to something good and the balls to recognize this and throw it out like Reggio did when it so obviously sucked.

Powaqqatsi is good too, but less masterful visually and I feel like the score is a big step down -- Copland-esque in the worst way, grandiloquent, full of obvious brass and condescending exoticism. If I revisit this it might be without the sound. Koyaanisqatsi has one of Glass' best scores, up there with The Thin Blue Line and Mishima. But this one is inconsistent at best and sometimes just sounds plain wrong, at odds with the images like his work for Undertow, for instance. Like the Alloy Orchestra's music for Man With A Movie Camera, there isn't one overt bit of business Glass' Powaqqatsi music doesn't see fit to underline, highlight and add exclamation marks to. Instead of revealing the inner essence of images/scenes/sequences it's merely reiterating the visuals with no subtlety. It may even be fair to blame the badness of this score in part on the absence of Ron Fricke who says he had to talk Glass down from some of the louder and faster music he wanted to add to the first picture.
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Re: 639-642 The Qatsi Trilogy

#164 Post by Kirkinson » Fri Jan 11, 2013 5:44 pm

warren oates wrote:Copland-esque in the worst way, grandiloquent, full of obvious brass and condescending exoticism.
Do you mean "Copland-esque" as in Aaron Copland, or "Copeland-esque" as in Stewart Copeland? I agree that the score for Powaqqatsi is a step down from Koyaanisqatsi, but if you mean Aaron Copland then I'm really not getting the comparison here and I'd be curious to hear you expand on that.

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Re: 639-642 The Qatsi Trilogy

#165 Post by warren oates » Fri Jan 11, 2013 5:46 pm

Kirkinson wrote:
warren oates wrote:Copland-esque in the worst way, grandiloquent, full of obvious brass and condescending exoticism.
Do you mean "Copland-esque" as in Aaron Copland, or "Copeland-esque" as in Stewart Copeland? I agree that the score for Powaqqatsi is a step down from Koyaanisqatsi, but if you mean Aaron Copland then I'm really not getting the comparison here and I'd be curious to hear you expand on that.
Aaron Copland. I'm trying to get at the bold brassy celebratory "fanfare of the common third world man" aspect to the score, especially in the first 40ish minutes.

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Re: 639-642 The Qatsi Trilogy

#166 Post by MichaelB » Sat Jan 12, 2013 10:56 am

warren oates wrote:Koyaanisqatsi really is a revelation on Blu-ray. I doubt it's every looked this good before. The film struck me as being much better and more influential than ever this time around, including not just the obvious influence on dozens if not hundreds of other subsequent documentaries but on serious fiction films too by the likes of people like Terrence Malick. I have even more respect for the end result after the tortured multi-year production process and the tenuous yet magical collaboration that saw it to fruition. I'm one of the few around here who doesn't look down on Ron Fricke as the lesser partner or see his subsequent work as lacking. Though he's listed as the DP, the supplements imply that he was for all intents and purposes a co-director, not just capturing but actively shaping the imagery from pre-production to post. The most interesting feature may be the one on the original visual concept: The aborted studio-set footage is so awful that it ought to give anybody starting out confidence to make something bad on the way to something good and the balls to recognize this and throw it out like Reggio did when it so obviously sucked.
I completely agree with all this: Criterion's transfer looks and (especially) sounds astonishing (and I saw it on its original release, so I've lived with the film for nearly thirty years), and I kept finding myself spotting and being mesmerised by tiny little details that I'd never registered before, such as an illuminated lift dancing up and down a building as though it was some kind of audio level meter.

And the extras really emphasise just what an unusual project it was, how many false starts it had, and how dreadful alternative versions might have been - I watched about five minutes of the rough cut with Allan Ginsberg droning to an accordion before I could take no more. I also loved the interview in which Philip Glass says that he wrote the original score to a particular assembly, after which Reggio took the film apart and reassembled it to the music in a much more intuitive way, with the result that both music and images are in close to perfect harmony throughout. I've never been too fond of the sequels (though I've only ever seen them on standard-definition video before, so I'll give the BDs a spin), but Koyaanisqatsi looks more than ever like one of cinema's unclassifiable one-off masterpieces.

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Re: 639-642 The Qatsi Trilogy

#167 Post by swo17 » Sat Jan 12, 2013 11:19 am

If you think the Koyaanisqatsi transfer looks good, wait'll you see Powaqqatsi.

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Re: 639-642 The Qatsi Trilogy

#168 Post by colinr0380 » Sat Jan 12, 2013 1:09 pm

While the Glass scores are obviously perfect, I did quite like that Ginsberg drone piece for its stream of consciousness poetic images and juxtapositions, although I do not think I could have lasted more than the forty minutes that the original 1977 version runs! (if I am being totally honest, I did at one point think of that Randy Newman parody from Family Guy!)

And the singing was better when he was riffing off of the atmosphere the images were creating and wasn't trying to infer too much from the images on the screen. Although some of those inferences were quite amusing, especially in the 'Requiem' sequence showing people on the street, such as this (litigious!) riff on the traffic cop:
Policeman stands arms folding on their heels/
Wave machines upon the street that pass/
Looking up and down for a piece of ass
Or the lady passing on the street and looking into the camera later on gets this brief acknowledgement from Ginsberg's soundtrack:
Lady with red hair and husband or john
As well as being droning (and perhaps too obviously 60s Beat culture) to be attached to a film that could possibly enjoy wide distribution and success, it seemed a bit too imposing of a too facile point of view onto the images and perhaps a bit too revealing of the singer's attitudes than any wider wholistic view of society. Although as mentioned above I think that 'eye of the beholder' perspective even in the finished films are the major issue that all the Qatsi films are in danger of tipping into, even (or especially) in their most powerful sequences.
swo17 wrote:If you think the Koyaanisqatsi transfer looks good, wait'll you see Powaqqatsi.
Seconded (the dust particle clouds, shimmering waters and flying grains really pop out), and I agree about the audio being much more powerful too. Even the constantly repeated sections of Powaqqatsi felt as if they had more of an impact this time, with every return to and variation on Anthem feeling much more nuanced than I had previously remembered.

Naqoyqatsi looks great too - it is as problematic as ever (a real shame is that the early 'sea of information' sequence looks terribly dated coming a few years after The Matrix), but the score and especially those cello pieces by Yo-Yo Ma are iconic in themselves, full of feeling.

I also think that lady shown in slow motion doing a promo piece for a burger really deserved the best actress Oscar that year - she goes through about fifteen different versions of a delighted reaction for the camera before taking a big bite out of the burger!

I'm really glad that those excellent MGM documentaries got ported over to the Criterion discs - they're really the backbone of this set and Criterion wisely has just added much needed extra context to them (such as the full versions of the IRE shorts and original silent/Ginsberg version on Koyaanisqatsi and the piece on Reggio's influences on Powaqqatsi - things that the original MGM DVDs really needed) to answer some of the questions that the original interview pieces raised and turn the set into something extra special.

Naqoyqatsi gets comparatively short-changed, with everything but Reggio's afterword having already appeared on the previous DVD, but that was an example of a well produced disc in the first place, so presumably Criterion did not really feel the need to tamper with it too much (and Naqoyqatsi being the more problematic of the trilogy might also have had something to do with it!)

(The 1989 interview with Reggio was interesting, but I'm afraid I found the host incredibly funny throughout! I especially like the almost deification of Reggio and his work that he does at the opening, then during the interview itself he seems more at sea, until in the laugh out loud final cut back to him after Reggio has done a huge, slightly pretentious, monologue about society, he is just shown in what seems like a state of slack-jawed shock! Then the footage fades to black!)
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Re: 639-642 The Qatsi Trilogy

#169 Post by cdnchris » Sat Jan 12, 2013 5:38 pm

Agreed. I'd say Powaqqatsi looks pretty much perfect. The opening is especially stunning.

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Re: 639-642 The Qatsi Trilogy

#170 Post by Lowry_Sam » Wed Jan 23, 2013 9:10 pm

MichaelB wrote:The difference is negligible. I'm willing to bet the projector masking swallowed up more than that when I saw it in a cinema.

And yes, the black stripes are essential to maintain the aspect ratio that was specifically requested by Godfrey Reggio.
Well I just had a chance to watch Koyaanisqatsi on blu & while I was quite impressed with the overall image & sound, I was still bugged that full-frame version wasn't also included. Admittedly, most shots I couldn't tell much difference, however there were a couple that were quite noticeable, including my favorite shot of the film: the woman struggling to light her cigarette (and failing). In full frame you can see her repeatedly tapping the lighter (futilely), on the Criterion disc the lighter is completely out of the frame. Though you might be able to infer that she's tapping her lighter because you can see her finger, it definitely loses its impact.

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Re: 639-642 The Qatsi Trilogy

#171 Post by zedz » Mon Mar 25, 2013 3:21 pm

I watched Naqoyqatsi for the first time last night, and what merits the first two films of the trilogy might have had (nice photography, mostly) are long gone by the time this rolled around. The way everything is stretched out to fill the widescreen frame, it's like the whole film was tweaked in post by Your Dad, and, even without the 'benefit' of the 'My First Optical Printer' image manipulation, it makes this probably the ugliest film in the collection. It's the work of visual illiterates. And the post-rationalization that the images are distorted because "technology distorts the whole world, maaan" is disingenuous, since most of the overfamiliar stock footage that's used was originated in the 'wrong' aspect ratio.

No cliche goes unturned, and the implied commentary ranges from the banal ("Whoa, celebrities! WTF LOL") to the blindingly obvious ("Nuclear explosions are, like, really uncool (but sorta cool, right?)") to the dubiously tendentious ("See these images from violent video games? Don't they look suspiciously like these images of real people firing real guns? NOT THAT I'M NECESSARILY IMPLYING ANY CAUSAL CONNECTION BETWEEN THE TWO!!! (Oh very well, yes I am.)")

Oh, and then there are those loooong sequences where it looks like the guy who was commissioned to do 10-second animated titles for the Science News had some kind of nervous breakdown and submitted half an hour of the stuff.

Considering that Reggio commenced the trilogy by abandoning his overwrought, heavily didactic, staged vision for Koyaanisqatsi (and boy, that looks like it could have been one of the all-time terrible movies, the Intolerance of hippy documentaries - I sort of wish he hadn't -ah- pulled the plug on it) it's ironic that that's exactly where he ended up.

Oh, and had anybody else ever noticed that the anarchist's A, the dollar sign, McDonald's arches and the swastika are all symbols? Blew my fucking mind.

EDIT: Oh, and I've got to put in a good / bad word for the early version of Koyaanisqatsi with the Ginsberg soundtrack, which is also world-championship terrible. It's like a William Friedkin commentary in verse. Don't watch it sober.

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Re: 639-642 The Qatsi Trilogy

#172 Post by MichaelB » Mon Mar 25, 2013 4:28 pm

zedz wrote:Oh, and I've got to put in a good / bad word for the early version of Koyaanisqatsi with the Ginsberg soundtrack, which is also world-championship terrible. It's like a William Friedkin commentary in verse. Don't watch it sober.
I think I lasted about five minutes. Though I was stone cold sober, which can't have helped.

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Re: 639-642 The Qatsi Trilogy

#173 Post by zedz » Mon Mar 25, 2013 5:37 pm

Could be a whole new kind of karaoke. Play a couple of minutes of Ginsberg, then hand it over to your drunken friends to do a couplet apiece: "Look at the lady, standing in the road / Her bourgeois husband probably looks like a . . . toad." If you were friends with Nico, and she weren't dead, she could play the harmonium!

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Re: 639-642 The Qatsi Trilogy

#174 Post by bugsy_pal » Thu Aug 15, 2013 2:26 am

I bought the Australian bluray releases of the first two films last year, as they were dirt cheap. This was just before Criterion announced their set. I think the Australian discs may be the same transfers as those released in Germany, but I'm not sure - the packaging looks almost identical.

Well, I had to get the Criterion set of course. Last night I compared the two versions of Koyaanisqatsi, and found something weird. The soundtracks on the two versions are running at different speeds. The Criterion is noticeably faster - or at least, it's notcieably at a higher pitch, comparable to the difference between proper NTSC and PAL versions of the same film. I am very puzzled by this. I didn't actually compare the running times of the two discs, so I don't know whether one version may have been pitch-adjusted. Any ideas what could be going on?

I did the same comparison with Powaquatsi, but it seems that the pitch is the same for the two versions.

The Criterion versions of both films are superior to the Australian discs - colours are richer and there are a lot of specks and dirt that have been removed. There's not much difference in detail though.

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Re: 639-642 The Qatsi Trilogy

#175 Post by ola t » Thu Aug 15, 2013 3:29 am

That's strange. Maybe you could check which version sounds similar to the soundtrack CD? There are sound samples on Amazon.

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